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Mascots on the Loose: the Pragmatics of Kawaii (Cute)

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“AMATEUR” MASCOTS ON THE LOOSE: THE PRAGMATICS OF KAWAII (CUTE) by Mary Birkett Thesis Submitted for Anthropology Honors University of Michigan 2012 Advisors: Jennifer E. Robertson Erik Mueggler Birkett The Pragmatics of Kawaii (Cute) i ACKNOWLEDGEMENTS I hardly know whom to thank first. This thesis feels like it does not belong to me, but to the people below who supported and questioned me. I was lucky to have so many people who understood my thesis better than I did, who were willing to lend me their genius for even a few minutes, and who prodded me in exactly the right direction as I needed it. Thank you all. Stuart, I could not have written this thesis without you. You encouraged me when I was thinking of giving up; you listened to all my harebrained ideas and my griping, and you asked me all the questions I needed to consider. Your words transformed my thesis from a soggy mess into something coherent, and myself from an anxious mess into a curious researcher. Professor Robertson, thank you for sticking with me through all the twists and turns of my thesis. You always made yourself available, something that I at first could not comprehend. She wants me to talk to her? I kept wondering. You never let me get away with simplistic explanations and you always encouraged me to have confidence in my own research, that just because some person is published that doesn’t make what they say solid gold. Before having you as my advisor, I didn’t understand how important it was to see primary materials for myself, to examine not only the literature on my topic, but to read the people it cited and to think about how scholarship itself is produced. Without your guidance, this thesis would have quickly petered out. Erik, I wish my thanks to you could be as powerfully concise as the support you offered me. I have been constantly amazed by the skill with which you read people and their papers, glance up, and ask them exactly the question they need to realize some key idea. With subtle nudges, you helped us to understand not only our theses, but in what we were interested and why we were writing. My meetings with you, though brief, were always transformative. Mom, you were my 縁の下の力持ち. When I started my research, you made sure everything was set up for me; you tried to explain my topic to our relatives when I hardly knew what I wanted to do; you put up with all my ridiculous requests and helped me set up interviews. Even though I was frustrated that I still couldn’t do anything on my own at age 21, you helped as much as you could as though it was the natural thing to do. I wish you could meet everyone who helped me through this thesis. There were also people who helped me even though they had made no obligation to do so. Professor Kondô, thank you so much for revising my emails to mascot managers; going through things I had written to help me understand my mistakes; and even explaining what some of the more confusing messages meant. I owe it to you and Professor Oka for how much my Japanese has improved this past year. Professor Carr, you were another person I bothered at office hours. I would show up every few weeks feeling confused and dejected, and leave remembering why I had Birkett The Pragmatics of Kawaii (Cute) ii chosen this project. Like Professor Robertson, I could not believe how ready you were to help. Thank you. Professors Matthew Hull, Michael Lempert, David Doris, Celeste Brusati, Alaina Lemon, Andrew Shryock, Krisztina Fehérváry, and Teri Silvio, thank you for all your help too. Professor Hull, I owe my sections on pragmatics to you, and to the concise insight you brought in our few conversations. Michael, thank you for bringing your enthusiasm and linguistic anthropology approach. In just one conversation, you grasped my project and then rearticulated it to me so that I understood it. It was amazing. Thank you. David, thank you for the furries and Mickey. Also for the poetry with which you discussed art. Professor Brusati, thank you for our conversation midway through this semester. I came in nervous, and I left understanding what I needed to do and felt confident that I could. Andrew Shryock – yes, I remember you. You were there at the very beginning, when I had no idea what I wanted to do except that I wanted to go to Japan. And you still agreed to advise me, even though you (and I) had no idea what I was talking about. Professor Lemon and Professor Fehérváry, thank you for letting me bother you at office hours. Thank you especially to Professor Lemon for pointing me towards Paul Manning and Teri Silvio’s work. Professor Silvio, thank you for responding to my ridiculously long email – and from Taiwan! I hope to pursue your suggestions on looking into literature on puppetry and cosplay, though this time around, the deadline came first. I also have to thank all the staff at the Anthropology Department, both current and not. Linda, Julie, Dar, Mel, Ayn, Mary, Mallika, Evan, Michelle, Laurie, and Debbie, thank you for putting up with my thesis angst and the sketchy work that came with it. The department was a second home – literally. I was there all the time. I ate there; I napped in the Titiev; I read dissertations and theses; I stalked professors I needed to talk to … Thank you for standing my constant presence. The opposite goes for all the family and friends that I ignored for a month, if not longer, when my thesis deadline was approaching. Of course, I always forget how much material things matter. Thank you, Professor Tom Fricke, whoever doles out grants in the Anthropology Department, and the International Institute for funding my research in Tôkyô. I have no idea how I could have arrived at a topic as awesome as amateur mascots were it not for the experiences I had in Tôkyô. Thank you. Finally, though not really finally, thank you to all the friends I made in Tôkyô, especially Hanako; to my relatives for entertaining me and worrying about me; and to all the mascot managers, actors, and caretakers for their time and thoughts. All of you took my often blunt or confusing questions in stride. I can only hope I got the story right. Birkett The Pragmatics of Kawaii (Cute) iii A NOTE ON NAMES, IMAGES, AND TRANSLATIONS To protect my informants, I refer to all with pseudonyms. I include the actual names of all places, mascots, and managing organizations, however. Japanese names are written with the family name first, then given name (e.g. Birkett Mary). Except images of mascots, all photos have been taken by me. Mascot images are from the 2011 Yuru Kyara Grand Prix website unless otherwise noted. Except where I note, all translations from Japanese to English are my own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irkett The Pragmatics of Kawaii (Cute) v LIST OF FIGURES Figure 1 Gifu City, Yanagase marketplace’s unofficial character, Yanana. ......................... 3 Figure 2 The long walk to Yasukuni. This torii you see is the second gate. The main gate is directly behind, and the building you can barely make out framed in the main gate is the main shrine hall. ................................................................................................ 10 Figure 3 Cookies with JSDF Mascots. From the upper right, text reads, “Let’s go Japan! / Thank you self-defense forces / We will protect beautiful Japan! .......................... 11 Figure 4 A food stand on the main avenue leading to Yasukuni’s haiden. The sign reads, “Baby Castela,” and features Doraemon on the right and the Pokémon Pikachû on the left. ......................................................................................................................... 13 Figure 5 Kawaii birds from a 1933 edition of Shôjo Club. ................................................ 16 Figure 6 “Kawaii kawaii Molly,” a shepherd girl in a play recorded in a 1933 edition of Shôjo Club . ................................................................................................................. 16 Figure 7 Gnome Encyclopedia merchandise. Harajuku, Tôkyô. ...................................... 25 Figure 8 Akihabara ward, Tôkyô. ..................................................................................... 28 Figure 9 Panda pancake at MaiDreamin. Photo by author. ............................................. 30 Figure 10 Fans in front of the Martial Arts Theater, waiting to hear AKB48 election results and hoping catch a glimpse of the members. ................................................. 37 Figure 11 Active Corporation postcard .............................................................................. 41 Figure 12 San-X Characters. Screenshot of animation on former San-X website. .......... 42 Figure 13 San-X character Rilakkuma points the way to a children’s hospital. ............... 45 Figure 14 A young girl who pledges to protect the home front, from a postcard sent to soldiers on the front. Picture courtesy “Pink Tentacle” blog, scanned from Hiroki Hayashi’s book, Nippon No Kawaii Ehagaki. ........................................................... 47 Figure 15 Chinese rabbits being aided by Japanese troops. Picture by author, from Shôjo Club 1939, Volume 17(2), pages 40-1. ........................................................................ 50 Figure 16 Don-chan, the mascot for Sarabetsu Village in Hokkaidô (Miura 2005, 17). .. 59 Figure 17 Takinomichi Yuzuru.
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  • PICTURES of the FLOATING WORLD an Exploration of the World of the Yoshiwara, 吉原

    PICTURES of the FLOATING WORLD an Exploration of the World of the Yoshiwara, 吉原

    Cherry Blossom in the Yoshiwara by Yoshikazu PICTURES OF THE FLOATING WORLD An exploration of the world of the Yoshiwara, 吉原 PICTURES OF THE FLOATING WORLD In the nightless city Floating free from life’s cares Picture memories Haiku Keith Oram INTRODUCTION Japanese woodblock prints that recorded the Ukiyo, the ‘Floating World’ of the Yoshiwara of Edo city were so numerous that during the nineteenth century they were used to wrap ceramics exported to Europe. This practice provided some European artists with their first proper encounter with these beautifully created images. The impact on western art of their bold colours and sensuous line was quite significant influencing many artists of the avant gard. The story of those prints, however, began much earlier in the seventeenth century. First a little background history. The battle of Sekigahara in 1600 and the fall of Osaka in 1615 allowed Tokugawa Ieyasu to gain complete control of Japan. He had been made Shogun, supreme military leader, in 1603, but the fall of Osaka was the final action that gave him complete control. Almost his first act was to move the capital from Kyoto, the realm of the Emperor, to Edo, now Tokyo. This backwater town, now the new capital, grew very quickly into a large town. Tokugawa Iemitsu, Shogun 1623-51, required the daimyo of Japan, local rulers and warlords, to remain in Edo every other year, but when they returned to their fiefs he made them leave their families in the capital. This ‘hostage’ style management, sankin tokai, helped to maintain the peace. The other affect was that the daimyo needed to build large homes in Edo for their families.